conquerors and princes?

The city, as I said, lives upon the memory of what it has been, and
trades upon relics of its former fame. What it would have been
without Albrecht Durer, and Adam Kraft the stone-mason, and Peter
Vischer the bronze-worker, and Viet Stoss who carved in wood, and
Hans Sachs the shoemaker and poet-minstrel, it is difficult to say.
Their statues are set up in the streets; their works still live in
the churches and city buildings,--pictures, and groups in stone and
wood; and their statues, in all sorts of carving, are reproduced, big
and little, in all the shop-windows, for sale. So, literally, the
city is full of the memory of them; and the business of the city,
aside from its manufactory of endless, curious toys, seems to consist
in reproducing them and their immortal works to sell to strangers.

Other cities project new things, and grow with a modern impetus:
Nuremberg lives in the past, and traffics on its ancient reputation.
Of course, we went to see the houses where these old worthies lived,
and the works of art they have left behind them,--things seen and
described by everybody. The stone carving about the church portals
and on side buttresses is inexpressibly quaint and naive. The
subjects are sacred; and with the sacred is mingled the comic, here
as at Augsburg, where over one portal of the cathedral, with saints
and angels, monkeys climb and gibber. A favorite subject is that of
our Lord praying in the Garden, while the apostles, who could not
watch one hour, are sleeping in various attitudes of stony
comicality. All the stone-cutters seem to have tried their chisels
on this group, and there are dozens of them. The wise and foolish
virgins also stand at the church doors in time-stained stone,--the
one with a perked-up air of conscious virtue, and the other with a